Abstract: The collection is comprised of research notes, an extensive photograph archive and correspondence, which document the career
and scholarly interests of Italian art historian Luigi Salerno. Active in Rome and prominent in the field of baroque studies,
Salerno was a prolific author and an administrator involved with the preservation of artistic patrimony in Rome and Lazio.

Request Materials: Request access to the physical materials described in this inventory through the
catalog record for this collection. Click here for the
access policy .

Language: Collection material is in
Italian with some
English

Biographical / Historical Note

Luigi Salerno was born on 3 September 1924, in Rome, Italy, to Aldo Salerno and Maria Santangelo, who was the sister of the
art historian Antonino Santangelo. He attended the Università di Roma, "La Sapienza," where he graduated in 1946 with a laurea
in Storia dell'arte moderna and a thesis on the Macchiaioli, written under Lionello Venturi.

Salerno's exemplary academic work garnered him a scholarship from the Istituto d'archeologia e storia dell'arte (1946-1949)
and a fellowship to study at the Warburg Institute in London in 1948, where he worked closely with Rudolf Wittkower. His exposure
to the work of Fritz Saxl, Ernst Gombrich, and Wittkower, and to their art historical methodologies, would be fundamental
for the development of his research. While in London, Salerno met Denis Mahon, with whom he would develop a lasting friendship
which resulted in numerous collaborations, including a major work on Guercino (1988). Mahon advised and critiqued early works
authored or edited by Salerno including those on Giovanni Lanfranco and Giulio Mancini, and the two corresponded regularly
throughout Salerno's career. Salerno and Mahon would later be involved together in the rediscovery of two Caravaggio paintings
acquired by American museums in the 1970s: the Detroit Institute of Arts'
Martha and Mary Magdalene and the Cleveland Museum of Art's
The Crucifixion of Saint Andrew. Through Mahon, Salerno was introduced to Benedict Nicolson, the long-time editor of
The Burlington Magazine. This fruitful relationship resulted in a friendship, as well as the appearance of a number of articles written by Salerno
in the Burlington and other English language journals.

As a young man, Salerno lived for a time with Alessandro Marabottini, then assistant to Professor Salmi. The two shared a
flat on the Aventino in Via Sant'Anselmo, until Salerno married Elda Campana in 1953. Elda Campana and Luigi Salerno had two
sons, Pietro Paolo, born in 1955 and Carlo Stefano, born in 1960.

In 1947, Salerno joined the Antichità e belle arti del ministero della pubblica istruzione, and was assigned shortly thereafter
to the Soprintendenza alle gallerie di Roma (1948). His 1958 appointment as director of the Soprintendenza ai monumenti del
Lazio, an administration responsible for the care and preservation of historic monuments throughout Lazio, prompted Mahon
to write: "Congratulations on your enormous new responsibilities - which would terrify me!" Salerno remained at the Soprintendenza
until 1967, during which time he developed research on Rome's urban history. He prepared numerous publications on monuments
and sites in Rome including,
Altari barocchi (1959), the
Palazzo Rondinini (1964),
Piazza di Spagna (1967),
Roma communis patria (1968) and with Luigi Spezzaferro and Manfredo Tafuri,
Via Giulia: una utopia urbanistica del 500 (1973). The vast publication on
Via del Corso (1961), prepared under Carlo Pietrangeli, and to which Salerno made numerous contributions, became a model for studies on
urban history.

During this period, Salerno continued to be involved with exhibition organizing committees and to publish works on a variety
of topics, such as Giovanni Lanfranco, Caravaggio, the Carraccis and the Mancini manuscripts. His scholarly interest in 17th
century Italian painting would find fulfillment in the immensely popular and successful exhibition
Il Seicento Europeo (1956), whose catalog Salerno wrote in collaboration with Alessandro Marabottini. In 1959, he was on the research committee
of the important exhibition
Il Settecento a Roma and was appointed research professor in art history at the Università di Roma. He firmly established himself as an assiduous
scholar with his publication in three installments of the
Burlington Magazine of the inventory of the collection of Vincenzo Giustiani (1960).

Salerno took on numerous editorial projects as co-director for visual arts for the journal
Palatino, as founding co-editor of the journal
Storia dell'arte, directed by Giulio Carlo Argan, and as a member of the editorial committee of the
Enciclopedia universale dell'arte (1958-1967), also led by Argan. He taught briefly in the United States, accepting a visiting professorship at Pennsylvania
State University during the fall of 1965. This sojourn sparked a friendship between Salerno and Robert and Catherine Enggass,
who translated several of Salerno's works. In 1968-1969, Salerno won a Fulbright scholarship for the academic year which he
spent as an affiliated fellow at the American Academy in Rome.

In addition to his administrative and teaching duties, Salerno pursued research on artists and topics in art history which
he felt remained neglected in Italy, notably the painter Salvator Rosa, the so-called unacademic painters and Italian still
life painting. He also wrote extensively on landscape and vedute. He was largely responsible for bringing Salvator Rosa to
the fore among his contemporaries, preparing two monographs on the painter (1963, 1975). In a review in
The Burlington Magazine, Francis Haskell, who considered Salerno's first monograph "excellent," noted it was the first major work devoted to the artist
in over fifty years. As a result, Salerno's name became inexorably intertwined with that of the artist and he received numerous
expertise requests from individuals who believed themselves to be in possession of a genuine work by Rosa. Salerno's interest
in unacademic painters grew and dissent in art was a theme he would continue to explore throughout his career. He became a
specialist on artists such as Filippo Napoletano, Jacques Callot, Angelo Caroselli, Giovanni Benedetto Castiglione, Pier Francesco
Mola, Nicolas Poussin, Salvator Rosa and Pietro Testa.

In 1967 Salerno assumed the position of director at the Calcografia nazionale. During his tenure Salerno headed major initiatives
to inventory, photograph and catalog printing plates in the collection. By the late 1960s Salerno was director of the Ufficio
esportazione, also known as the Dogana, an office responsible for monitoring and issuing licenses for the exportation of works
of art. In 1973 he was transferred from his position in Rome to the Soprintendenza dell'Aquila, where he stayed only a few
months. Taking advantage of new legislation which allowed for the early retirement of high-level administrators, Salerno chose
to devote himself more fully to his research interests. This enabled him to publish an essay and catalog entries for the Metropolitan
Museum of Art's exhibition,
The Age of Caravaggio (1985), and a number of important volumes including:
L'opera completa di Salvator Rosa (1975),
Pittori di paesaggio del Seicento a Roma (1977-1980),
La natura morta italiana, 1560-1805 (1984),
I dipinti del Guercino (1988), and his last major work
I pittori di vedute in Italia (1991). After a long convalescence, Salerno died on 22 July 1992.

Administrative Information

Access

Open for use by qualified researchers except for one letter in Box 3, folder 17, which contains a student record and is SEALED
per Family Educational Rights and Privacy Act (FERPA) legislation and institutional policy until 2045.

Acquired as partial donation from Pietro Paolo Salerno, son of Luigi Salerno, in 2000.

Processing History

Registered by Richard Zwies in 2000. The collection was processed and the finding aid was prepared by Insley Julier under
the supervision of Karen Meyer-Roux from September 2011 to May 2012.

Luigi Salerno filed the photographs in Series IV in envelopes that he labeled, but did not maintain a strict arrangement of
his research papers or house them in folders labeled by him. Due to this fact, titles of files in Series III have been supplied
by the cataloger.

Separated Materials

Two publications, an exhibition catalog and several serials were transferred to the library. A note in the provenance field
of the library record identifies their source as the Luigi Salerno Collection.

Scope and Content of Collection

The collection, dated 1948-1996, is comprised of research notes, an extensive fototeca or photograph archive and correspondence,
which document the career and research interests of Italian art historian Luigi Salerno (1924-1992). With particular emphasis
on the Italian baroque, major areas of interest documented in this collection include: Giovanni Lanfranco, Gaspard Dughet,
Salvator Rosa, Guercino, Caravaggio and Italian still life, view and landscape painting, as well as materials related to the
preservation of artistic patrimony in Rome and Lazio. Lanfranco, Rosa, Guercino and Caravaggio constitute major portions of
the research files, while still life, view and landscape painters, particularly minor masters, comprise the bulk of the images
in the fototeca. Together, the correspondence, expert opinions, research files and photograph files, revolve largely around
questions of attribution and connoisseurship.

The types of materials found in the collection include photographs, transparencies, research notes, correspondence, clippings,
offprints, and photocopies. Salerno gathered most of these materials as he conducted research for his numerous publications.
With some exceptions, these materials tend to focus on the geographical area of Rome, Italy and its surrounds. Salerno also
received a large number of letters and photographs from colleagues and collectors, who sought his opinion regarding attribution.

Salerno's research notes demonstrate his methodical work habits, with numerous archival references, object checklists, citations,
biographical information on artists and a vast number of images, often stamped or annotated. These notes and Salerno's immense
fototeca were used when planning exhibitions, drafting catalog entries and authoring articles or monographs. The papers also
contain releases for images, bulletins, galleys, proofs, etchings, postcards, periodicals, receipts, radiographs, sketches,
press releases, inventories, affidavits, business cards, appraisals, loan forms and auction catalogs, as well as a small number
of technical examinations, insurance records, slides, floor plans and one piece of paper money.

Arrangement

The collection is arranged in four series:
Series I. Correspondence, 1948-1996, undated;
Series II. Expert opinions, 1975-1984, undated;
Series III. Research files, 1950-1992, undated;
Series IV. Photographs, undated.

Container List

Series I.
Correspondence,Bulk, 1955-19921948-1996, undated

Physical Description:
2.3 linear feet
(6 boxes)

Scope and Content Note

Series I consists primarily of letters from collectors and dealers seeking attribution advice, but also includes professional
and personal correspondence from other art historians and colleagues. The most substantive correspondence is with Eugenio
Battisti, Robert Enggass and, particularly, Denis Mahon. Correspondence in the miscellaneous folders, filed by letter of the
alphabet, typically consists of one to three letters per individual or institution.

Arrangement

Correspondence is filed alphabetically by surname or corporate name, either in its own file or in one labelled by letter of
the alphabet, e.g. "A" miscellanous. Unidentified materials, one file of material addressed to Salerno's son, Pietro Paolo,
and one file of images labelled "Luigi Salerno Collection," are located at the end of the series. The original order of the
papers has been maintained whenever possible. As a result, some correspondence is not filed in this series, but may instead
be found amongst the Series III. Research files or Series IV. Photographs according to topic, exhibition or artist. These
letters have been left in situ, in the order in which they were made or received and set aside by Luigi Salerno.

A,1955-1992

Scope and Content Note

Includes correspondence with James S. Ackerman, Giulio Carlo Argan and Ferdinando Arisi.

Includes correspondence from Galleria d'arte antica Il Sagittario of Bologna and lengthy notes on a painting attributed to
Caravaggio entitled
Susanna e i vecchioni.

Box 2, Folder 16

Papers

Box 55, Folder 14

Color photograph

G,1957, 1963, 1974-1993, undated

Box 2, Folder 17

Papers

Box 55, Folder 15

Color photographs and transparencies

Galleria d'arte Il Sagittario (Bologna),undated

Scope and Content Note

See also Fiumicelli.

Box 2, Folder 18

Papers

Box 55, Folder 16

Color photograph

Galli, Gherardo,1980, 1988

Box 2, Folder 19

Papers

Box 55, Folder 17

Color photographs

Box 2, Folder 20

Giulio Einaudi editore,1954, 1976, 1982

Gregori, Mina,1990, 1992

Scope and Content Note

See also Series III. Research files on
The Age of Caravaggio exhibition.

Box 2, Folder 21

Papers

Box 55, Folder 18

Color photographs and transparencies

Box 2, Folder 22

H,1957-1983

Scope and Content Note

Includes correspondence with Andrzej S. Ciechanowiecki and Ann Sutherland Harris.

Box 2, Folder 23

Hess, Jacob,1969

Scope and Content Note

Contains an offprint of an article by Hess.

Box 2, Folder 24

Hoermann, Kristin,1988

Scope and Content Note

Hoermann was Conservator of Paintings at the Fine Arts Museums of San Francisco.

Box 2, Folder 25

I,1957-1969

Box 2, Folder 26

IRSA Verlag,1992

Scope and Content Note

See also correspondence with Józef Grabski of IRSA Verlag in Series III. Research files on Salvator Rosa. IRSA Verlag produced
the journal
Artibus et Historiae in which Salerno published an article on Rosa in 1991.

Box 2, Folder 27

Istituto della Enciclopedia italiana,1969-1970

Box 2, Folder 28

J,1976, 1989

Scope and Content Note

Includes correspondence with Axel Janeck.

Box 2, Folder 29

K,1967-1990

Scope and Content Note

Includes correspondence with Richard Krautheimer.

Box 2, Folder 30

K.G. Saur Verlag,1988, 1991

Scope and Content Note

Includes material relating to the Allgemeines Künstlerlexikon.

L,1968-1991

Scope and Content Note

Includes correspondence with Silvano Lodi, Stéphane Loire and Wolfgang Lotz.

Box 2, Folder 31

Papers

Box 55, Folder 19

Color photograph and transparency

Lajoie, Frédéric,1981-1990

Box 2, Folder 32

Papers

Box 55, Folder 20

Color photographs

Lipp, Peter A.,1986-1992

Scope and Content Note

See also Series IV. Photographs, Bimbi, Bartolomeo file.

Box 2, Folder 33

Papers

Box 55, Folder 21

Color photographs and transparencies

López, Manuel González,1984

Box 3, Folder 1

Papers

Box 55, Folder 22

Transparencies

Box 3, Folder 2

Lurie, Ann Tzeutschler,1977

Scope and Content Note

Ann Tzeutschler Lurie was Associate Curator of Paintings at the Cleveland Museum of Art. See also Series III. Research files
on Caravaggio and
The Crucifixion of St. Andrew.

Includes Mahon's detailed comments on the Mancini manuscript. Correspondence from Mahon is also interspersed throughout the
Series III. Research files, see in particular materials on Caravaggio, Guercino and Lanfranco.

File includes correspondence with Benedict Nicolson, former editor of
The Burlington Magazine and several of Nicolson's obituaries. Also includes a letter from Salerno to Luisa Vertova, Nicolson's ex-wife.

Box 3, Folder 13

Norton Simon Museum,1980

O,1987, 1990, undated

Box 3, Folder 14

Papers

Box 55, Folder 25

Color photographs and transparencies

P,1964-1989

Box 3, Folder 15

Papers

Box 55, Folder 26

Color photographs

Pasini, Pier Giorgio,1992

Scope and Content Note

Materials relate to the artist Guido Cagnacci.

Box 3, Folder 16

Papers

Box 55, Folder 27

Color photographs

Box 3, Folder 17 SEALED

Pennsylvania State University,1965-1970

Scope and Content Note

Salerno spent the 1965 fall semester teaching at Pennsylvania State University and file includes letters from his students.
One letter which contains a student record is SEALED per
Family Educational Rights and Privacy Act (FERPA) legislation and institutional policy until 2045. See also Robert Enggass.

Box 3, Folder 18

Pennsylvania State University Press,1967

Petrella Antichità,1991

Box 3, Folder 19

Papers

Box 55, Folder 28

Color photographs

Pisani, Arnolfo,1991

Box 3, Folder 20

Papers

Box 55, Folder 29

Color photograph

Poletti-Galimberti, Huberto,1991

Box 3, Folder 21

Papers

Box 55, Folder 30

Transparency

Box 3, Folder 22

Q,1980, 1985

R,1960-1993

Scope and Content Note

Includes correspondence with Marcel Roethlisberger, Pierre Rosenberg and Herwarth Röttgen.

Box 3, Folder 23

Papers

Box 55, Folder 31

Color photographs and transparencies

Box 3, Folder 24

Rizzoli editore,1974-1981, 1991

Scope and Content Note

Includes correspondence related to the 1975 volume
L'opera completa di Salvator Rosa, part of the Classici dell'arte series.

Contains two black-and-white photographs and one photocopy of a work entitled
Veduta di Sorrento, attributed to Vanvitelli. Written on the verso of one of the photographs: "Coll. L. Salerno, Roma."

Miscellaneous,undated

Images

Box 4, Folder 26-28

Black-and-white photographs

Box 56, Folder 6-8

Color photographs and transparencies

Box 4, Folder 29

Notes

Series II.
Expert opinions,1975-1984, undated

Physical Description:
0.1 linear feet
(1 box)

Scope and Content Note

Series II contains documents in which Salerno states his expert opinion regarding works of art, primarily in an official capacity.
The series includes a bound inventory, printed in 1980, of the collection of Saverio Pugliese entitled "Collezioni di quadri,"
and Salerno's undated appraisal of these works. It also includes copies of records related to the Tribunale di Roma, for which
Salerno served as an expert witness.

Arrangement

Files are arranged alphabetically. These documents were originally interfiled with the correspondence. They have been separated
into their own series based upon their distinct form and function. They were not filed with any accompanying correspondence.

Box 5, Folder 1

Pugliese appraisal and inventory,1980, undated

Tribunale di Roma

Box 5, Folder 2

Armati, Giancarlo (judge),1984

Box 5, Folder 3

Cuppini, Lina and Aldo Nucci,1975-1976

Box 5, Folder 4-5

Finarte,1981-1982, undated

Box 5, Folder 6

Guglielmo, Giorgio vs. Galleria di Arte Esedra,1975

Series III.
Research files,1950-1992, undated

Physical Description:
11.6 linear feet
(26 boxes)

Scope and Content Note

The research files cover artists and topics, as well as project files related to exhibitions, major publications and positions
of employment. Research areas with a particularly strong concentration of materials include: Caravaggio, Guercino, Salvator
Rosa, still-life painting, vedute and landscape painting. The wide-ranging nature of Salerno's scholarly interests is well-documented,
albeit in less depth, in the final subseries on other artists and topics.

Materials in this series include correspondence, extensive handwritten and typescript notes, a large number of offprints,
extracts and articles, and numerous images including black-and-white photographs, color photographs, transparencies, black-and-white
negatives and photomechanical reproductions of works of art, as well as publication drafts, proofs, essays and checklists.

In contrast to the photograph archive described in Series IV, whose organization is made evident by Salerno's clearly labeled
enclosures, Salerno's research files were not filed in strict order, making their arrangement challenging. Whenever possible,
the files were maintained in the order in which they were received. In other instances, files found in notable disarray have
been arranged by artist, topic, publication or exhibition in line with the loose organizational schema utilized by Salerno.

The subseries includes numerous images and extensive notes regarding Caravaggio and his followers. Also included are articles,
offprints and clippings related to the artist, a number of galleys from Benedict Nicolson's posthumously published volume
The International Caravaggesque Movement, exhibition object checklists, draft essays by Salerno and others, technical examinations, conference remarks and correspondence.
The bulk of the correspondence is from Denis Mahon.

In 1965 Salerno was invited to Pennsylvania State University to teach a graduate seminar on Caravaggio during the fall term.
The file on this seminar includes correspondence from students, bibliographies, notes and several sketches.

In the 1970s Salerno and Denis Mahon were heavily involved in the rediscovery of two works acquired by American museums. The
first of these,
Martha and Mary Magdalene (also known as the
Conversion of the Magdalene or the
Alzaga Caravaggio), was acquired by the Detroit Institute of Arts in 1973. Files on the Detroit Magdalene, as it is also known, include numerous
photographs of the work, an undated examination of the painting by Giovanni Corradini and drafts, in Italian, of Salerno's
1974 article entitled "The Art-Historical Implications of the Detroit 'Magdalen'," which appeared in
The Burlington Magazine. The file also contains a technical examination of the painting by James L. Greaves and Meryl Johnson.

The second painting was the Cleveland Museum of Art's
The Cruxifixion of Saint Andrew. Files regarding the
St. Andrew include numerous photographs, negatives and transparencies of the work, press releases from the museum regarding the acquisition
and a photocopied, annotated draft of the footnotes for Ann Tzeutschler Lurie's article on the painting. The file also includes
a galley of Lurie's article, 1977 newspaper clippings from "El Pais" regarding the painting's export from Spain, a copy of
a questionnaire filled out by conservator Jan Dik and a photocopied statement of facts regarding the painting's sale.

In 1974 Salerno was invited to speak at the
Convegno internazionale di studi caravaggeschi in Bergamo and this subseries includes his remarks. It also includes research material and correspondence from Denis Mahon
and Mia Cinotti related to Salerno's 1984
Apollo article
Caravaggio: A Reassessment. In addition, the papers contain material on the 1985 Metropolitan Museum of Art exhibition
The Age of Caravaggio.

Box 5, Folder 7

Pennsylvania State University seminar

Scope and Content Note

Includes 1965 correspondence with Mahon regarding a version of
David with the Head of Goliath, and correspondence with students.

Caravaggio and related artists

Box 5, Folder 8

Papers

Box 56, Folder 9

Negative

Box 5, Folder 9-11

Notes

Articles, offprints and readings

Box 5, Folder 12-15

Papers

Box 56, Folder 9

Color photograph

Box 5, Folder 16

Exhibition catalog
In the Light of Caravaggio (Trafalgar Galleries, 1976)

Box 5, Folder 17

Galley and images

Scope and Content Note

Includes
Bulletin of the Metropolitan Museum of Art, October 1953.

Box 5-6

Images

Scope and Content Note

Includes a note from Giuseppe Pio fu Michele and a draft letter from the committee organizing the 1956-1957 exhibition
Il Seicento europeo: realismo, classicismo, barocco.

After establishing contact with Salerno in relation to the Detroit Magdalen, it appears that Martin de Alzaga may have sent
images of another painting in the family collections seeking advice. This painting is not by Caravaggio, however, Salerno
filed these materials with those regarding the Detroit painting.

Box 6, Folder 16

Papers

Box 56, Folder 10

Radiographs and transparencies

The Crucifixion of Saint Andrew, Cleveland Museum of Art

Box 6-7

Papers

Box 56, Folder 11

Negatives and transparencies

Box 7, Folder 6-10

Caravaggio: A Reassessment

Scope and Content Note

In a June 1984 article published in
Apollo titled
Caravaggio: A Reassessment Salerno reviews Mia Cinotti and G. A. Dell'Acqua's work on the artist which appeared in
I Pittori bergamaschi dal XIII al XIX secolo. In his review Salerno assesses the publication in juxtaposition to a book by Howard Hibbard released in the same year and
discusses the painting
Boy Paring a Bitter Fruit in detail.

Box 7, Folder 11-13

The Age of Caravaggio (Metropolitan Museum of Art, 1985)

Scope and Content Note

Includes preliminary object checklists, correspondence, and photocopies of catalog entries mailed to Salerno by Mina Gregori.

This subseries contains material Salerno amassed while researching the monograph
I dipinti del Guercino, which he published in conjunction with Denis Mahon in 1988. The files include a number of photographs of works attributed
to Guercino, annotated indices from the 1988 book, photocopies of articles and essays on the artist, Mahon's 1981
Apollo articles on Guercino, drafts of a letter regarding
La Sibilla Frigia, correspondence and invoices related to the conservation of the
Santa Barbara, extensive hand-written and typed notes, many on works included in the catalogue raisonné. Notes on particular paintings
are written and annotated by both Mahon and Salerno.

The subseries also includes correspondence, scattered throughout the research files. Correspondents include: Prisco Bagni,
Creighton Gilbert, Laurence B. Kanter, D. Stephen Pepper, Karin Rådström and Ksenija Rozman. A significant portion of the
correspondence is actually addressed to, or written by, Mahon, rather than Salerno. Additional materials include, preliminary
lists of works to be included in the catalog and their corresponding catalog numbers, notes from the Vatican archives and
a summary description of
Semiramis Receiving Word of the Revolt of Babylon, Museum of Fine Arts, Boston.

Finally, the subseries includes a number of photographic permissions, invoices and receipts related to the illustrations reproduced
in the 1988 volume. The folders of permissions are interspersed with additional correspondence which is not related to the
Guercino monograph, but appears to have been filed in this location because it was received by Salerno contemporaneously.
Some of the letters request attribution advice while others grant permission for reproductions of works attributed to Salvator
Rosa and other artists. Typically, only a single letter is present from the correspondents listed below. Correspondents in
this section include: Andrzej S. Ciechanowiecki of the Heim Gallery, John Hand of the National Gallery of Art (U.S.), Richard
Herner of P. & D. Colnaghi & Co., David Kolch of the Art Institute of Chicago, T.D. Llewellyn of Sotheby's, Ann Tzeutschler
Lurie of the Cleveland Museum of Art, Lynn Federle Orr of the Fine Arts Museums of San Francisco, Wolfgang Prohaska of the
Kunsthistoriches Museum Wien, Pierre Rosenberg of the Musée du Louvre and William H. Wilson of the John and Mable Ringling
Museum of Art.

Images

Box 7-8

Black-and-white photographs

Box 56, Folder 12

Color photograph and transparencies

Box 8, Folder 2

Indices, bibliography, reviews and other materials

Correspondence, notes and images

Box 8, Folder 3-10

Papers

Box 56, Folder 13

Color photographs and transparencies

Box 8, Folder 11

Prints

Papers and images

Box 8, Folder 12-14

Papers

Box 56, Folder 14

Color photographs, negative and transparencies

Box 9, Folder 1

Atlas, Museo Bardini

Scope and Content Note

Includes correspondence and remarks from Mahon, Joyce Plesters of the National Gallery (Great Britain) and Raffaella Rossi
Manaresi of the Centro "Cesare Gnudi" per la conservazione delle sculture all'aperto.

The Toilet of Venus, private collection, California

Scope and Content Note

Includes 1986 correspondence with the painting's owner.

Box 9, Folder 2-3

Papers

Box 56, Folder 15

Transparency

Scope and Content Note

Transparency is actually a version of
La Maddalena che contempla i chiodi della Passione.

In 1984, Ugo Bozzi Editore published Salerno's work
La natura morta italiana. The publication of this monograph resulted in a surge of correspondence with accompanying photographs, requesting attribution
advice. The influx of new information on the subject prompted Salerno to write a second volume
Nuovi studi su la natura morta italiana, which appeared in 1989.

In the course of researching these volumes Salerno amassed a huge number of images of still-life paintings or natura morta.
The subseries primarily consists of black-and-white photographs, but also includes photomechanical reproductions of paintings
affixed to large sheets of cardstock, possibly gleaned from auction catalogs. Frequently the cardstock is labeled and organized
by the artist's last name. Other photographic images in the subseries do not appear to be in a particular order. Many, but
not all, of the artists represented are those featured in Salerno's 1984 work. Additional images of still life painters may
be found in the photograph series, organized by artist name.

Papers include notes on particular artists, extracts, an exhibition catalog and correspondence from individuals and institutions
seeking Salerno's aid in attributing paintings or congratulating him on his publications. Some of the correspondence is not
related to still-life painting and appears to have been filed with this material because it was received by Salerno during
the time period when he was active in this research area.

Papers and images

Box 9, Folder 7-12

Papers

Box 56, Folder 16

Color photographs, negatives and transparencies

Box 9, Folder 13

Nuovi studi su la natura morta italiana - Review

Scope and Content Note

Includes several drafts of a letter from Salerno to author Alessandro Morandotti of the
Giornale dell'Arte, for errors published in a September 1990 review of the volume.

Images

Box 9-11

Black-and-white photographs

Box 56-57

Color photographs, negatives and transparencies

Box 11, Folder 6

Arcimboldi, Giuseppe and followers

Bocchi, Ulisse

Scope and Content Note

Contains images of still life paintings sent by Bocchi to Salerno. See also Series I. Correspondence, Bocchi, Ulisse file.

Box 11, Folder 7

Black-and-white photographs

Box 57, Folder 8

Color photographs

Box 11, Folder 8

Muratori, Alfredo

Scope and Content Note

Contains images of still life paintings sent by Muratori to Salerno.

Series III.D.
Rosa, Salvator,1950-1991, undated

Scope and Content Note

Salerno authored two monographs on Salvator Rosa, one in 1963 and another in 1975. The subseries consists primarily of images
of works attributed to Rosa. Papers include research notes on Rosa, letters from Ronald Kutcha of the Santa Barbara Museum
of Art, exhibition catalogs from the Leger Galleries and the Central Art Gallery, Northampton, correspondence and a contract
from Rizzoli Editore, letters from the Matthiesen Gallery regarding the
Raising of Lazarus, notes on Baldinucci and brief notes on other landscape painters of the seventeenth century.

L'opera completa di Salvator Rosa

Scope and Content Note

Includes images of many of the works reproduced in the volume, though some gaps exist. These photographs are marked with illustration
numbers on the verso. See also Series I. Correspondence, Rizzoli file.

Box 11, Folder 9-13

Black-and-white photographs

Box 57, Folder 9

Negatives and transparencies

Box 12, Folder 1-4

Works on paper

Scope and Content Note

Contains black-and-white photographs of drawings, sketches, watercolors and prints of works attributed to Rosa.

Box 12, Folder 5-6

Papers

Images

Scope and Content Note

Image files are occasionally interspersed with correspondence or notes.

Box 12-13

Black-and-white photographs

Scope and Content Note

Also includes a large number of photocopies from the Witt Library.

Box 57, Folder 10-12

Color photographs, negatives and transparencies

Box 13, Folder 2

Correspondence and notes

Box 13, Folder 9

Notes on Salvator Rosa and other painters

Witchcraft scenes

Scope and Content Note

Contains images. Salerno published "Four Witchcraft Scenes by Salvator Rosa" in
The Bulletin of the Cleveland Museum of Art, 1978.

Box 13, Folder 10

Black-and-white photographs

Box 57, Folder 13

Color photographs and transparencies

Papers and images

Box 13-14

Papers

Box 57, Folder 14

Color photographs and transparency

Box 14, Folder 2

Offprint of
Due opere tarde di Salvator Rosa

Grabski (IRSA)

Scope and Content Note

Includes drafts of Salerno's article
Due momenti singolari di Salvator Rosa, in Italian and English, and a portion of a corrected essay entitled
Il trattamento della notte nella pittura di paesaggio italiana. The article on Rosa had been rejected by
Apollo before being accepted by
Artibus et Historiae. See also Series I. Correspondence, IRSA Verlag file.

Box 14, Folder 3

Papers

Box 57, Folder 15

Color photographs

Series III.E.
Landscapes and vedute,1967-1991, undated

Scope and Content Note

A significant portion of the subseries relates to the planning of an unrealized 1971 show
Paesaggio e veduta a Roma dal Seicento all'Ottocento. Materials related to the exhibition include annotated object checklists, notes, loan forms, institutional correspondence
approving and rejecting loans and correspondence from the municipal government of Rome, as well as personal correspondence
with Denis Mahon, Helen Mullaly and Terence Mullaly. The file also includes an object checklist from the Victoria and Albert
Museum's 1968 exhibition
Englishmen in Italy. "Post exhibition" material contains several drafts of an outline of complaints addressed to the mayor of Rome regarding the
show's cancellation and a version signed by Andrea Busiri Vici, Salerno and Giuliano Briganti.

Repurposing his research from this aborted exhibition, Salerno published a three volume, bilingual edition on Roman landscape
painting entitled
Pittori di paesaggio del Seicento a Roma, or,
Landscape Painters of the 17th Century in Rome (1977-1980). Salerno's last major publication
I pittori di vedute in Italia: (1580-1830), appeared in 1991. Although Salerno published separate works on landscape painting and view painting, images and notes regarding
artists are frequently intermingled. This subseries includes many black-and-white photographs and photomechanical images of
landscapes, view paintings and prints. It also contains notes on individual artists.

Majority of images are taken from auction catalogs, however, file also includes a few black-and-white photographs.

Box 14, Folder 9

Black-and-white photographs

Box 57, Folder 16

Color photograph and transparency

Marine painters and others

Box 14, Folder 10

Papers and images

Box 57, Folder 17

Color photograph

Box 14, Folder 11

Notes

Images

Scope and Content Note

File also includes an extract on Giambattista Bassi and a few images of figural works.

Box 14-15

Black-and-white photographs

Box 57, Folder 18

Transparency

Pittori di paesaggio del Seicento a Roma - Appendix

Scope and Content Note

Includes correspondence from Clovis Whitfield, Daan Cevat, the Germanisches Nationalmuseum and the Toledo Museum of Art, as
well as black-and-white photographs, illustration proofs and annotated text proofs for several of the entries. Materials on
vedute, which are divided into the categories of foreign artists (artisti stranieri) and Italian painters (pittori italiani),
are organized alphabetically by the artist's last name and consist of images, usually one or two per artist, publications
and brief notes. Some of the images are the same as those published in the 1991 volume. Illustration proofs are photomechanical,
AM halftones in blue ink. Also includes one letter from Benedict Nicolson, which is entirely unrelated and concerns his publication
on Caravaggesque pictures.

Box 15, Folder 4-6

Papers and proofs

Box 57, Folder 19

Transparencies

Various photographs (landscapes, vedute and attributions)

Scope and Content Note

Images are primarily organized by artist name.

Box 15, Folder 7-11

Black-and-white photographs

Box 57, Folder 20

Color photographs and transparency

Vedute - Foreign artists

Scope and Content Note

Organized alphabetically by artist's last name. See page 383 in
I pittori di vedute in Italia (1580-1830), for the "Artisti Stranieri - Indice."

Box 15-16

Papers and images

Box 57, Folder 21

Transparencies

Box 16, Folder 4

Vedute - Miscellaneous artists

Vedute - Foreign artists and Italian painters

Scope and Content Note

Salerno divided artists published in his monograph on view painting into these two categories. File includes artists represented
in
I pittori di vedute in Italia (1580-1830).

Box 16, Folder 5-7

Papers and images

Box 57, Folder 22

Transparencies

Box 16, Folder 8

Research on view painting, the Grand Tour and other topics

Scope and Content Note

Includes notes from the Vicariato.

Box 16, Folder 9

Research notes on Manglard, Adrien and several others

Box 16-17

Italian Landscape Painting, exhibition

Scope and Content Note

Includes 1986-1988 correspondence from Lynn Federle Orr, curator at the Fine Arts Museums of San Francisco. Orr was planning
a show and sent Salerno a list of artists which she intended to include to ask for his comments. Much of the file consists
of photocopies of works of art by these artists. The show was unrealized.

Series III.F.
Il Settecento a Roma, exhibition,
1957-1959, undated

Scope and Content Note

Salerno served on the organizing committee of the exhibition
Il Settecento a Roma, which took place in 1959. He also contributed entries to the catalog
Il Settecento a Roma: Mostra promossa dall'Associazione amici dei musei di Roma, realizzata sotto gli auspici del Ministero
della pubblica istruzione e del Comune di Roma: 19 marzo-31 maggio 1959,
published by De Luca editore. This subseries contains materials related to the planning of the show. Papers include object
checklists, research notes, offprints, correspondence and comments from other exhibition committee members on works being
considered for inclusion, in particular, the opinions of Brinsley Ford, Corrado Maltese and Ellis Kirkham Waterhouse appear.
Materials on eighteenth century and related artists contain images and notes organized alphabetically by artist last name,
typically with one or two photographs and one page of notes enclosed in a paper wrapper. Some, but not all, of these artists
appear in the exhibition catalog. It seems that Salerno continued adding to these files in the decades following the show,
as they also include a few of the neoclassical artists featured in the 1972 exhibition
The Age of Neo-Classicism.

Box 17, Folder 2

Offprints

Scope and Content Note

Includes two unrelated 1972 letters from Edward Morris, Keeper of Foreign Art, at the Walker Art Gallery in Liverpool.

Box 17, Folder 3, 5

Various images

Scope and Content Note

Images may also related to Salerno's work with the Soprintendenza.

Box 17, Folder 4

Image checklists and other materials

Box 17, Folder 6-8

Papers

Scope and Content Note

Includes a few black-and-white photographs.

Box 17-18

Eighteenth century and related artists

Scope and Content Note

Artists organized alphabetically by last name.

Series III.G.
Other artists and topics,1950-1975, undated

Scope and Content Note

This subseries includes research materials on other artists and topics in which Salerno was interested. Many of the files
contain only a single essay draft, photocopy, reprint or offprint. Files on Lanfranco, the Soprintendenza ai monumenti del
Lazio, the Carracci family and Gaspard Dughet are among the more substantial.

Early in his career, Salerno published several articles on Lanfranco. Materials related to Lanfranco include extensive research
notes, essays, article drafts, images, offprints and correspondence, primarily from Mahon.

Files related to the Soprintendenza primarily contain black-and-white photographs of sites before and after restoration. The
bulk of the files contain between two and 15 images. Many of the photographs document damage to buildings prior to treatment,
including cracking, flaking and loss. Some illustrate preliminary in-fill treatments or samples of cleaned or treated areas,
while others document the final results of restoration work. The majority of the photographs in this section were found in
envelopes and folders labeled by Salerno with abbreviated site names. These original containers have been retained. Some of
the images in these files may have been gathered in relation to an exhibition of work undertaken by the soprintendenze in
Rome and Lazio and a small number are reproduced in the exhibition catalog
Tutela e valorizzazione del patrimonio artistico di Roma e del Lazio: Mostra documentaria dell'attività di tutela, restauro,
sistemazione museografica e incremento patrimoniale svolta dal 1. gennaio 1963 al 30 marzo 1964 dalle Soprintendenze e dagli
Instituti di Roma dipendenti dalla Direzione generale delle antichità e belle arti: Roma, Palazzo Venezia: 12-19 aprile 1964
. A few of the files also include Salerno's hand-written notes, sketched floor plans, restoration proposals, typed site summaries,
clippings and other research materials.

Materials concerning Gaspard Dughet include a significant number of images of works attributed to the artist, a draft of Salerno's
essay
La cronologia di Gaspard Dughet and extensive research notes and checklists of works attributed to Dughet.

Additional information on other artists and topics that received less coverage are described in greater detail at the file
level. Miscellaneous materials which could not be identified are filed at the end of the subseries. It seems that these papers
and images may have been gathered by Salerno with the intention of filing them with other related materials; however, they
remained unfiled.

Box 18, Folder 15

Research on collecting and the rococo style

Box 18, Folder 16

Daniel Webb Plagiario di Raffaelo Mengs

Scope and Content Note

This essay was published in 1951 in the periodical
English Miscellany. File includes research notes and a draft.

Includes an essay, a few black-and-white photographs and other reprints.

Box 19, Folder 2-3, 5

Images

Box 19, Folder 4

Lanfranco and related artists

Box 19, Folder 6

Papers

Box 19, Folder 7

Brandi, Giacinto

Scope and Content Note

Contains papers related to the artist.

Box 19, Folder 8-9

Lanfranco and Sisto Badalocchio

Box 19, Folder 10

La giovinezza di Giovanni Lanfranco

Scope and Content Note

Includes a 1951 letter from Mahon in which he offers suggestions on Salerno's article. The article in question is likely a
1952 publication on
The Early Work of Giovanni Lanfranco, however no drafts of the article are in the file.

File includes what appears to be a review of the 1966 exhibition catalog
Il mobile e l'artigianato romano del '600 e '700, which was held at the Palazzo ducale di Zagarolo under the auspices of the Associazione artistica culturale G. Pallavicini.
File also contains notes on a publication by Evelina Borea and photographs of different palazzi, frescoes undergoing restoration
and neoclassical furniture.

Box 20, Folder 8

La Calcografia nazionale

Scope and Content Note

Contains a 1969 extract from
Musei e gallerie d'Italia on the Calcografia, authored by Salerno.

In 1973, Salerno co-authored a monograph with Luigi Spezzaferro and Manfredo Tafuri entitled
Via Giulia: una utopia urbanistica del 500. File contains images of buildings featured in the volume such as the Palazzo Spada, San Giovanni dei Fiorentini and the Oratorio
del Gonfalone. Some of the photographs, however, do not appear to relate to this street.

Box 22, Folder 2

Images and other locations

Box 22, Folder 3

Images and notes

Box 22, Folder 4

Photographic permissions

Box 22, Folder 5-9

L'Accademia nazionale di San Luca

Scope and Content Note

Salerno contributed an essay to a 1974 volume on the Accademia entitled
L'Ambiente di Palazzo Carpegna. The file includes extensive research notes, a bibliography and correspondence from the Accademia.

Carracci family

Scope and Content Note

Materials on the Carracci family include black-and-white photographs, checklists of works and research notes. A typescript
note and a draft bear the titles
I Carracci and
De i Caraccioli da Bologna, respectively.

Box 22, Folder 10-11

Carraccis and Bartolomeo Passarotti

Box 22, Folder 12

Carracci and his followers

Box 22, Folder 13

Essays and notes

Box 23, Folder 1

Images

Box 23, Folder 2-3

Carracci, Annibale

Dughet, Gaspard

Box 23, Folder 4

La cronologia di Gaspard Dughet

Box 23, Folder 5

Etchings

Box 23, Folder 6

Notes

Images

Box 23, Folder 7-12

Black-and-white photographs

Box 57, Folder 25

Transparency

Box 23, Folder 13

Frescoes

Box 24, Folder 1

Palazzo Colonna

Scope and Content Note

A number of the images are labelled Palazzo Colonna on the verso, however, some may be from other sites.

Box 24, Folder 2

Images of prints and other works

Colonna Inventory

Scope and Content Note

Contains photographic prints of the Colonna inventory and negatives from which the prints were derived.

Box 24, Folder 3-4

Black-and-white photographs

Box 57, Folder 26

Negatives

Box 24, Folder 5-7

Gentileschi, Orazio and Artemisia Gentileschi

Scope and Content Note

Includes Longhi's 1916 article on the Gentileschis and a number of black-and-white photographs of works attributed to the
artists.

Battle scenes

Scope and Content Note

Primarily consists of images grouped by artist last name.

Box 24-25

Images and notes

Box 57, Folder 27

Color photographs and transparencies

Box 25, Folder 3

History of collecting, mannerism and other materials

Box 25, Folder 4

Notes and correspondence on various topics

Box 25, Folder 5

Notes on English literature and the history of collecting

Box 25, Folder 6

Archives - L'Accademia nazionale di San Luca

Miscellaneous,

Scope and Content Note

Miscellaneous materials include: correspondence from dealers, restoration photographs (similar to those found in the Soprintendenza
files), materials on the Palazzo Doria Pamphilj and Palazzo Spada, images of works attributed to Guercino, Polidoro da Caravaggio,
Caravaggesque copies and a 1987 letter from Ferdinando Arisi addressed to one of the Busiri-Vicis of Ugo Bozzi Editore, expressing
interest in collaborating with Salerno on a work on battle scene painters. Also includes a letter from Clovis Whitfield.

Box 25-26

Images and papers

Box 57, Folder 28-33

Color photographs, negatives and transparencies

Introduction

Scope and Content Note

Although Salerno labeled this file
Introduction there is no apparent artist, topic or theme uniting the majority of these materials. The last folder is an exception, being
comprised almost entirely of images of view paintings.

Series IV consists of photographs and other documents organized by artist or topic. These materials are largely undated. The
vast majority of the files contain black-and-white photographs of works of art. These photographs were gathered by Salerno
from a variety of sources including museums, archives, commercial photographers, auction houses, dealers and private collectors.
The series also includes scattered sales catalog pages, journals, articles, offprints, extracts, correspondence, handwritten
and typescript notes, color photographs, transparencies, black-and-white negatives, photograph receipts and other documents.
Although most letters regarding attribution may be found in Series I. Correspondence, Salerno filed some of these letters
and their accompanying photographs with his photograph archive. In instances where this has occurred, the correspondence has
been left in situ and a file-level note has been created in the finding aid to alert users to its existence.

Arrangement

The series is arranged in two subseries: Series IV.A. Artists, undated; Series IV.B. Topics, undated.

Folders in this series are arranged alphabetically, largely in the order in which they were maintained by Luigi Salerno. In
cases of obvious misfilings, alphabetical order has been restored. The contents of individual folders have not been arranged
and remain in the order in which they were received.

Salerno originally stored the images in his photograph archive in eight filing cabinet drawers. He maintained his photograph
files in individual envelopes or four-flap enclosures labeled with the last name of a single artist, multiple artists or rarely,
a topic, such as "Arti minori" or decorative arts. Groupings of more than one artist in a single enclosure have been maintained,
as the groupings appear to be intentional and relate to questions of attribution. These groupings are filed under the artist
appearing first in the alphabet. For example, the grouping of Baschenis and Bettera is filed under "Baschenis." Frequently,
Salerno labeled the envelopes and folders in this series with only the last name of an artist. Whenever possible, the processor
has endeavored to identify the artist's full name for the purposes of clarification and disambiguation. Several folders, without
content, have been left as found, where they were filed, as they document Salerno's research, but they are not listed here.

Series IV.A.
Artists,undated

Scope and Content Note

Many of the artists represented in this series were featured in Salerno's publications, particularly
La natura morta italiana, 1560-1805,I pittori di vedute in Italia (1580-1830) and
Pittori di paesaggio del Seicento a Roma. Files concerning artists covered in Salerno's publications often include bibliographical references, brief biographical notes
and annotated chronologies of works in the artist's œuvre. It is important to note, however, that the depth of coverage of
each artist varies. A number of the artist files contain only a single photograph or auction catalog clipping, while others
span several file folders and include a number of photographs, notes and articles. When coverage of an artist is minimal,
this has been noted at the file level.

Arrangement

Arranged alphabetically by artist's last name.

Box 27, Folder 1

Adam, Robert

Box 27, Folder 2

Aglio, Agostino

Box 27, Folder 3

Agricola, Christoph Ludwig

Box 27, Folder 4

Albani, Francesco

Box 27, Folder 5

Algardi, Alessandro

Scope and Content Note

Contains a publication from the Minneapolis Museum on Algardi bozzetti.

Includes a paper, dated 1961 and 1962, by Biagio Cascone of the Vatican Museums on the restoration of the frescoes in the
Chiesa di San Nicola in Carcere and related photographs.

Box 28, Folder 4

Appelman, Barend

Arbotori/Crespi

Scope and Content Note

Arbotori, Bartolomeo and Antonio Crespi. Also includes notes on Giuseppe Maria Crespi.

Box 28, Folder 5

Black-and-white photographs

Box 58, Folder 3

Transparency

Box 28, Folder 6

Arcimboldi, Giuseppe

Box 28, Folder 7

Arellano, Juan de

Box 28, Folder 8

Arthois, Jacques d'

Box 28, Folder 9

Ascione, Aniello

Box 28, Folder 10

Asselyn, Jan

Box 28, Folder 11

Assereto, Gioacchino

Box 28, Folder 12

Baburen, Dirck van

Box 28, Folder 13

Baciccio (Gaulli, Giovanni Battista)

Scope and Content Note

Mostly photographs of the Chiesa del Gesú.

Box 28, Folder 14

Badalocchio, Sisto

Box 28, Folder 15

Bagetti, Giuseppe Pietro

Baglione, Giovanni

Scope and Content Note

Also includes notes on Orazio Borgianni.

Box 28, Folder 16

Black-and-white photographs

Box 58, Folder 4

Color photograph

Box 28, Folder 17

Baldi, Lazzaro

Box 28, Folder 18

Balestra, Antonio [?]

Box 28, Folder 19

Barbazza, Antonio Giuseppe

Box 28, Folder 20

Barbieri, Paolo Antonio

Box 28, Folder 21-22

Barocci, Federico

Barra, Didier

Box 28, Folder 23

Black-and-white photographs

Box 58, Folder 5

Transparency

Baschenis/Bettera

Scope and Content Note

Baschenis, Evaristo and Bartolomeo Bettera. See also Bettera, Bartolomeo.

Box 28, Folder 24

Black-and-white photographs

Box 58, Folder 6

Transparencies

Box 29, Folder 1

Basiletti, Luigi

Box 29, Folder 2

Bassano, Leandro da Ponte

Box 29, Folder 3

Bassante, Bartolomeo

Scope and Content Note

Also known as, Passante, Bartolomeo. See also Bassante (Passante)/Quinsa.

Bassante (Passante)/Quinsa

Scope and Content Note

Bassante, Bartolomeo and Giovanni Quinsa. See also Bassante, Bartolomeo.

Box 29, Folder 4

Black-and-white photographs

Box 58, Folder 7

Transparency

Box 29, Folder 5

Bastianino (Filippi, Sebastiano)

Box 29, Folder 6

Batoni, Pompeo

Box 29, Folder 7

Battaglioli, Francesco

Scope and Content Note

Includes a letter from Ronald Cohen of Trafalgar Galleries regarding photographs and transparencies and Salerno's attribution
of
Lobster, Chestnuts, Pomegranates and Other Items on a Ledge to Frans Snyders.

Some of the photographs are labeled Andries Dirksz Both, but the majority of the works have been attributed to Jan Both.

Box 31, Folder 10

Bottani, Giuseppe

Box 31, Folder 11

Boucher, François

Box 31, Folder 12

Boulogne, Valentin de

Box 31, Folder 13

Bourdon, Sébastien

Box 31, Folder 14

Bout, Peeter

Box 31, Folder 15

Bramante, Donato

Scope and Content Note

Contained an entire, unannotated periodical which was removed to the library collections.

Box 31, Folder 16-17

Bramer, Leonard

Brandi, Micco (Brandi, Domenico)

Box 31, Folder 18

Black-and-white photographs

Box 58, Folder 20

Transparency

Box 31, Folder 19-20

Breenbergh, Bartholomeus

Box 31, Folder 21

Briglia, Giovanni Francesco

Box 32, Folder 1-4

Brill, Paolo (Bril, Paul)

Box 32, Folder 5

Bronhorst, Jan van (Bronchorst, Jan Gerritsz. van)

Box 32, Folder 6

Brouwer, Adriaen

Box 32, Folder 7

Brown, John

Brueghel, Abraham

Box 32, Folder 8

Black-and-white photographs

Box 58, Folder 21

Transparencies

Brueghel, Jan

Scope and Content Note

Contains photographs of works by both Jan Brueghel and Pieter Brueghel.

Box 32, Folder 9

Black-and-white photographs

Box 58, Folder 22

Transparency

Box 32, Folder 10

Brugnaroli

Box 32, Folder 11

Burrini, Giovanni Antonio

Scope and Content Note

Contains only a single article on the artist.

Box 32, Folder 12

Busiri, Giovanni Battista

Box 32, Folder 13

Buti

Box 32, Folder 14

Cabel, Adriaen van der

Box 32, Folder 15

Cades, Giuseppe

Box 32, Folder 16

Caffi, Ippolito

Caffi, Margherita

Box 32, Folder 17

Black-and-white photographs

Box 58, Folder 23

Transparency

Box 32, Folder 18

Cagnacci, Guido

Scope and Content Note

See also Series I. Correspondence, Pasini, Pier Giorgio file.

Box 32, Folder 19

Callot, Jacques

Box 32, Folder 20

Calvaert, Denys

Box 32, Folder 21

Calza, Antonio

Scope and Content Note

Contains only a single auction catalog page.

Box 32, Folder 22

Cammarano

Campi family

Scope and Content Note

Campi, Giulio and Vincenzo Campi.

Box 32, Folder 23

Black-and-white photographs

Box 58, Folder 24

Transparencies

Box 32, Folder 24

Campovecchio, Luigi

Box 32, Folder 25

Canaletto

Box 32, Folder 26

Cantarini, Simone

Box 32, Folder 27

Canuti, Domenico Maria

Box 32, Folder 28

Caravaggio, Cecco del

Caravaggio and Caravaggeschi

Box 33, Folder 1-3

Black-and-white photographs

Box 58, Folder 25

Transparencies

Box 33, Folder 4

Cardellino (Desti)/Rasio

Scope and Content Note

Desti, Giacomo (Il Cardellino) and Antonio Rasio.

Box 33, Folder 5

Carlevarijs, Luca (Carlevaris)

Carlieri, Alberto

Box 33, Folder 6

Black-and-white photographs

Box 58, Folder 26

Color photograph

Box 33, Folder 7

Carpaccio, Vittore

Scope and Content Note

Contains only a single article on the artist.

Box 33, Folder 8

Caro, Baldassare de

Scope and Content Note

Also includes two photographs of works attributed to Marco de Caro.

Box 33, Folder 9

Carpioni, Giulio

Box 33, Folder 10

Casissa, Nicola

Cassana, Giovanni Agostino

Box 33, Folder 11

Black-and-white photographs

Box 58, Folder 27

Color photograph and transparency

Castello, Giacomo da (Kerckhoven)

Box 33, Folder 12

Black-and-white photographs

Box 58, Folder 28

Transparency

Box 33, Folder 13

Castello, Valerio

Box 33, Folder 14

Castiglione, Francesco

Scope and Content Note

Contains only a single auction catalog page.

Box 33, Folder 15

Castiglione, Giovanni Benedetto (Il Grechetto)

Cattamara, Paolo (Paoluccio Napoletano)

Scope and Content Note

Includes a 1986 letter from P. & D. Colnaghi & Co.

Box 33, Folder 16

Black-and-white photographs

Box 58, Folder 29

Color photograph

Cavallino, Bernardo

Box 33, Folder 17

Black-and-white photographs

Box 58, Folder 30

Transparency

Box 33, Folder 18

Cavarozzi, Bartolomeo

Box 33, Folder 19

Cavedone, Giacomo

Box 33, Folder 20

Ceccarini, Sebastiano

Scope and Content Note

Contains only a single auction catalog page.

Box 33, Folder 21

Cennini, Pietro Paolo

Box 33, Folder 22

Cerano

Scope and Content Note

Includes a 1956 letter from the Sovrintendenza alle gallerie, Milano, addressed to Emilio Lavagnino.

Cerquozzi, Michelangelo

Box 33, Folder 23-24

Black-and-white photographs

Box 58, Folder 31

Color photograph and transparencies

Ceruti, Giacomo

Box 34, Folder 1

Black-and-white photographs

Box 58, Folder 32

Transparencies

Box 34, Folder 2

Cesari

Box 34, Folder 3

Cignani, Carlo

Box 34, Folder 4

Cignaroli, Vittorio Amedeo

Cioci, Antonio

Box 34, Folder 5

Black-and-white photographs

Box 58, Folder 33

Transparency

Box 34, Folder 6-7

Circignani, Antonio (Pomarancio)

Scope and Content Note

Includes extensive handwritten notes and a 1952 letter from a colleague at the Sopraintendenza alle gallerie, Modena. Salerno
published an article in
Commentari in 1952 entitled
L'opera di Antonio Pomarancio.

Box 34, Folder 8

Civetta (Bles, Herri met de)

Clérisseau, Charles-Louis

Box 34, Folder 9

Black-and-white photographs

Box 58, Folder 34

Transparency

Box 34, Folder 10

Coccorante, Leonardo

Box 34, Folder 11-12

Codazzi, Niccoló and Viviano Codazzi

Box 34, Folder 13

Codino, Francesco

Box 34, Folder 14

Compagno, Scipione

Box 34, Folder 15

Conca, Sebastiano

Scope and Content Note

Contains only two auction catalog pages.

Box 34, Folder 16

Coninck, David de

Box 34, Folder 17

Cortona, Pietro da (Berrettini, Pietro)

Box 34, Folder 18

Corvi, Domenico

Box 34, Folder 19

Cossiau, Jan Joost van

Box 34, Folder 20

Costa, Angelo-Maria

Box 34, Folder 21

Costa, Giovanni Francesco

Scope and Content Note

Also includes a photograph of a work attributed to Francesco Costa and a sales catalog illustration of a work attributed to
Vincenzo Costa.

Contains only a single auction catalog page. See also Series III. Research files, Other artists and topics, for material on
Dughet.

Box 35, Folder 14

Dujardin, Karel

Box 35, Folder 15

Durante, Giorgio

Box 35, Folder 16

Dyck, Anthony van

Scope and Content Note

Contains a single postcard.

Eismann, Johann Anton

Box 35, Folder 17

Papers

Scope and Content Note

Contains only a single article on the artist.

Box 58, Folder 37

Color photograph

Box 35, Folder 18

Elsheimer, Adam

Box 35, Folder 19

Esselens, Jacob

Box 35, Folder 20

Fabris, Jacopo

Scope and Content Note

Also includes two photographs of works attributed to Pietro Fabris.

Box 35, Folder 21-22

Fabris, Pietro

Box 35, Folder 23

Faccini, Pietro

Box 35, Folder 24

Falcone, Aniello

Box 35, Folder 25

Falda, Giovanni Battista

Box 35, Folder 26

Fardella

Scope and Content Note

Includes photographs of works attributed to Giuseppe Fardella and Giacomo Farelli. Also includes several photographs labeled
as pseudo-Fardella. See also Crastona, Margherita and others.

Box 35, Folder 27

Ferg, Franz de Paula

Scope and Content Note

Contains only two auction catalog pages.

Box 35, Folder 28

Ferrari

Scope and Content Note

May be the Genoese painter Giovanni Andrea de Ferrari, as one photo bears his name.

Box 35, Folder 29

Ferrari, Luca da Reggio

Box 35, Folder 30

Ferretti

Box 35, Folder 31

Ferroni, Leonardo (Il Bigino)

Box 35, Folder 32-33

Feti, Domenico (Fetti)

Fiasella, Domenico

Box 35, Folder 34

Black-and-white photographs

Box 58, Folder 38

Transparency

Fidani, Orazio

Box 36, Folder 1

Black-and-white photographs

Box 58, Folder 39

Color photograph

Box 36, Folder 2-3

Fidanza, Francesco and Gregorio Fidanza

Scope and Content Note

Includes an undated letter from Zsuzsanna Dobos, Assistant Curator at the Szépmuvészeti Múzeum, Budapest, in response to Salerno's
request for information on these artists.

Fieravino, Francesco (Maltese)

Box 36, Folder 4

Black-and-white photographs

Box 58, Folder 40

Transparency

Box 36, Folder 5

Finoglia, Paolo

Box 36, Folder 6

Finson, Louis

Box 36, Folder 7

Fioravanti

Box 36, Folder 8

Fontana, Lavinia

Forte, Luca

Box 36, Folder 9

Black-and-white photographs

Box 58, Folder 41

Color photographs and transparency

Box 36, Folder 10

Foschi, Francesco

Box 36, Folder 11

Fragonard, Jean-Honoré

Box 36, Folder 12

Franceschini, Baldassare

Box 36, Folder 13

Franceschini, Marcantonio

Fuolerni, Orazio [?] and four others

Scope and Content Note

Names are difficult to decipher, but original envelope appears to include: Fuolerni, Orazio, Ganzino, Gnolibono, Antonio Mezzadri
and Andrea Scacciati I. See also Scacciati, Andrea, I.

Box 36, Folder 14

Black-and-white photographs

Box 58, Folder 42

Transparency

Galizia, Fede

Box 36, Folder 15

Black-and-white photographs

Box 59, Folder 1

Color photograph and transparencies

Box 36, Folder 16

Gamberini, Giuseppe

Box 36, Folder 17

Ganassini, Marzio

Scope and Content Note

Includes a letter, addressee wanting, regarding attribution.

Box 36, Folder 18

Gandolfi family

Scope and Content Note

Gandolfi, Gaetano and Ubaldo Gandolfi.

Box 36, Folder 19

Garbieri, Lorenzo

Box 36, Folder 20

Gargiulo, Domenico

Box 36, Folder 21

Garoli, Pietro Francesco

Garzoni, Giovanna

Scope and Content Note

Includes a 1986 letter from Roberto Zaniboni regarding the attribution of three still life paintings including one signed
by Garzoni.

Box 36, Folder 22

Black-and-white photographs

Box 59, Folder 2

Transparencies

Box 36, Folder 23

Gaspari, Antonio and Pietro Gaspari

Box 36, Folder 24

Gatta, Saviero della

Box 36, Folder 25

Gelton, Toussaint

Box 36, Folder 26

Gennari

Genoels, Abraham

Box 36, Folder 27

Black-and-white photographs

Box 59, Folder 3

Color photograph and negatives

Box 36, Folder 28

Gentileschi, Artemisia and Orazio Gentileschi

Scope and Content Note

In 1960 Salerno published an article on
Cavaliere d'Arpino, Tassi, Gentileschi and their assistants: a study of some frescoes in the Villa Lante Bagnaia.

Box 36, Folder 29

Gessi, Giovan Francesco

Box 36, Folder 30

Gherardi

Ghisolfi, Giovanni

Scope and Content Note

Includes a 1989 letter from Giuseppe dello Ioio, Antiquario, Napoli, and two undated letters, one from Il Palazzetto Antiquari
of Modena and the other from Gianfranco Rotolo. Also includes a 1986 letter from Andrea Norris, Chief Curator at the Huntington
Art Gallery of the University of Texas, Austin regarding the attribution of a pair of paintings.

Box 36, Folder 31-33

Black-and-white photographs

Box 59, Folder 4

Transparencies

Box 36, Folder 34

Gianlisi, Antonio

Box 36, Folder 35

Giaquinto, Corrado

Scope and Content Note

Includes a letter, addressee wanting, regarding attribution.

Box 36, Folder 36

Gili/Rapous

Scope and Content Note

Gili, Anna Caterina and Michele Antonio Rapous.

Box 36, Folder 37-38

Gimignani, Giacinto

Box 36, Folder 39

Giordano, Luca

Box 37, Folder 1

Glauber, Johannes

Box 37, Folder 2

Gramatica, Antiveduto

Box 37, Folder 3

Grare

Box 37, Folder 4

Graziani, Ciccio

Greco, Gennaro

Scope and Content Note

Includes a 1991 letter from Bonfrancesco Vinci regarding paintings on the Parisian market.

Box 37, Folder 5

Papers

Box 59, Folder 5

Transparencies

Grimaldi, Giovanni Francesco

Scope and Content Note

Includes two undated letters regarding attribution, both with addressee wanting, and one 1980 request for attribution from
George Watson of St. John's College, Cambridge, England. File also contains one etching by Grimaldi
Two Men on a Hillock, after Annibale Carracci, on modern paper.

Box 37, Folder 6-7

Black-and-white photographs

Box 59, Folder 6

Color photograph and transparency

Box 37, Folder 8

Grosso, Domenico

Box 37, Folder 9

Gru

Box 37, Folder 10

Grubacs, Carlo

Box 37, Folder 11-12

Guardi, Francesco

Box 37, Folder 13

Guardi, Giacomo

Box 37, Folder 14

Guarino, Francesco

Scope and Content Note

Contains only a single article on the artist.

Guerrieri, Giovanni Francesco

Box 37, Folder 15

Black-and-white photographs

Box 59, Folder 7

Transparencies

Box 37, Folder 16

Guidobono, Bartolomeo

Box 37, Folder 17

Haensbergen, Johan van

Box 37, Folder 18

Hamme

Box 37, Folder 19

Heintz, Joseph, the younger

Box 37, Folder 20

Helmbreker, Dirk

Box 37, Folder 21

Hermans, Joannes (Monsù Aurora)

Heusch, Jacob de

Box 37, Folder 22

Black-and-white photographs

Box 59, Folder 8

Transparency

Box 37, Folder 23

Heusch, Jacob de and Willem de Heusch

Scope and Content Note

See also Heusch, Jacob de.

Box 37, Folder 24

Hondius, Abraham

Box 37, Folder 25

Honthorst, Gerrit van

Box 37, Folder 26

Hooch

Scope and Content Note

Includes two 1979 letters from Rainer Wilhelm regarding a work attributed to David de Hooch. Also includes photographs of
works attributed to Gerrit de Hooch, Carel Cornelisz. de Hooch and Horatius de Hooch.

Box 37, Folder 27

Houbraken, Niccolino van

Huchtenburg, Jacob van and Jan van Huchtenburg

Box 37, Folder 28

Black-and-white photographs

Box 59, Folder 9

Transparencies

Box 37, Folder 29

Huysmans, Cornelis

Scope and Content Note

Also includes one photograph of a work attributed to Jan Baptiste Huysmans.

Box 37, Folder 30

Huysum, Jan van

Box 37, Folder 31

Immenraet, Andries

Box 37, Folder 32

König

L'Empoli (Chimenti, Jacopo) (Jacopo da Empoli)

Box 37, Folder 33

Black-and-white photographs

Box 59, Folder 10

Color photograph and transparencies

Box 38, Folder 1

Labruzzi, Carlo

Box 38, Folder 2

Lacroix, Charles François (de Marseille)

Laer, Pieter van

Box 38, Folder 3-5

Black-and-white photographs

Box 59, Folder 11

Color photograph

Box 38, Folder 6-8

Lallemand, Jean-Baptiste

Lanfranco, Giovanni

Scope and Content Note

Includes several letters regarding Lanfranco attributions including one, undated, from Piccirilli Antichità of Rome; one 1984
letter from Ferdinando Bologna; and one 1980 letter from Erich Schleier. See also Series III. Research files, Other artists
and topics, for material on Lanfranco.

Box 38, Folder 9

Black-and-white photographs

Box 59, Folder 12

Color photograph

Box 38, Folder 10

Lapp, Jan Willemsz.

Box 38, Folder 11

Lastman, Pieter

Lauri family

Scope and Content Note

Lauri, Baldassare (Lauwers, Balthasar), Filippo Lauri and Francesco Lauri. The bulk of the photographs are works attributed
to Filippo Lauri.

Box 38, Folder 12-13

Black-and-white photographs

Box 59, Folder 13

Color photographs

Lavagna, Francesco and Giuseppe Lavagna

Box 38, Folder 14

Black-and-white photographs

Box 59, Folder 14

Color photograph

Box 38, Folder 15

Le Brun, Charles

Box 38, Folder 16

Legi, Giacomo

Box 38, Folder 17-19

Lemaire, Jean

Box 38, Folder 20

Leoni

Levoli, Nicola

Box 38, Folder 21

Black-and-white photographs

Box 59, Folder 15

Color photograph

Box 38, Folder 22

Ligozzi, Jacopo

Box 38, Folder 23

Lilio, Andrea (Lilli)

Scope and Content Note

Contains only a single article on the artist.

Lingelbach, Johannes

Scope and Content Note

Includes rough layouts from Ugo Bozzi Editore for
Pittori di paessaggio del Seicento a Roma, vol. II, 1977-1980, pages 577-591 and 593-608. The final version of the Lingelbach entry on page 590 is changed from that
which appears in the layout. The entry on Grimaldi has also been changed. Layouts include photomechanical, AM halftone illustration
proofs in blue ink. For additional proofs from the same publication see also Series III. Research files, Landscapes and vedute,
Pittori di paesaggio del Seicento a Roma - Appendix file.

Box 38, Folder 24-26

Black-and-white photographs

Box 59, Folder 16

Transparency

Box 39, Folder 1

Lint, Hendrik Frans van and Jacob van Lint

Scope and Content Note

Includes an undated letter, addressee wanting, attributing two paintings to Jacob van Lint.

Box 39, Folder 2

Lippi, Lorenzo

Box 39, Folder 3

Lisse, Dirck van der

Locatelli, Andrea

Scope and Content Note

Includes a letter, addressee wanting, regarding attribution.

Box 39, Folder 4-6

Black-and-white photographs

Box 59, Folder 17

Color photographs and transparency

Lopez, Gasparo

Box 39, Folder 7

Black-and-white photographs

Box 59, Folder 18

Transparency

Box 39, Folder 8-11

Lorrain, Claude

Loth, Onofrio

Box 39, Folder 12

Black-and-white photographs

Box 59, Folder 19

Color photographs

Box 39, Folder 13

Lusieri, Titta

Box 39, Folder 14

Luti, Benedetto

Scope and Content Note

Contains only a single auction catalog page.

Box 39, Folder 15

Maestro del Metropolitan

Maestro della Fruttiera Lombarda

Box 39, Folder 16

Black-and-white photographs

Box 59, Folder 20

Color photograph and transparencies

Box 39, Folder 17

Maffei, Francesco

Magini, Carlo

Box 39, Folder 18-19

Black-and-white photographs

Box 59, Folder 21

Color photograph and transparencies

Box 39, Folder 20-22

Magnasco, Alessandro

Box 39, Folder 23

Majoli, Clemente (Maiola)

Box 39, Folder 24

Malinconico, Nicola

Maltese, Francesco

Box 39, Folder 25

Black-and-white photographs

Box 59, Folder 22

Transparency

Box 39, Folder 26

Mancadan, Jacobus Sibrandi

Box 40, Folder 1

Manetti, Rutilio

Box 40, Folder 2-3

Manfredi, Bartolomeo

Scope and Content Note

Includes an essay draft by Salerno titled
Two Paintings by Manfredi from the Giustiniani Collection. Salerno published an inventory of the picture gallery of Vincenzo Giustiniani in 1960, and in 1974, an article in
The Burlington Magazine,A Painting by Manfredi from the Giustiniani Collection.

Box 40, Folder 4-5

Manglard, Adrien

Box 40, Folder 6

Mara, Antonio

Box 40, Folder 7-8

Maratti, Carlo

Marchioni, Elisabetta

Box 40, Folder 9

Black-and-white photographs

Box 59, Folder 23

Color photograph and transparencies

Box 40, Folder 10

Marchis, Alessio de

Marieschi, Michele

Scope and Content Note

Also includes one photograph of a work attributed to Jacopo di Paolo Marieschi.

Box 40, Folder 11

Black-and-white photographs

Box 59, Folder 24

Transparency

Box 40, Folder 12

Martinelli, Giovanni

Box 40, Folder 13

Mastelletta

Matteis, Paolo de

Box 40, Folder 14

Black-and-white photographs

Box 59, Folder 25

Transparency

Box 40, Folder 15

Matteus, Cornelis

Box 40, Folder 16

Mazzoni

Scope and Content Note

Includes one work attributed to Sebastiano Mazzoni.

Box 40, Folder 17

Mehus, Livio

Scope and Content Note

Contains only one page of handwritten notes.

Box 40, Folder 18

Meléndez, Luis

Box 40, Folder 19

Mercati, Giovanni Battista

Box 40, Folder 20

Meulen

Box 40, Folder 21

Meyering, Albert

Box 40, Folder 22-23

Miel, Jan

Box 40, Folder 24

Mignard, Pierre

Scope and Content Note

Contains only a single auction catalog page.

Box 40, Folder 25

Milani, Aureliano

Box 40, Folder 26

Millet, Jean François, the younger and the elder

Miradori, Luigi

Box 40, Folder 27

Black-and-white photographs

Box 59, Folder 26

Transparency

Box 40, Folder 28

Mitelli, Giuseppe Maria

Box 40, Folder 29

Moeyaert, Claes Cornelisz

Mola, Pier Francesco

Scope and Content Note

Includes a 1969 letter from Andrea Busiri Vici.

Box 40, Folder 30-32

Black-and-white photographs

Box 59, Folder 27

Transparency

Box 41, Folder 1

Molijn, Anthony (Molyn)

Box 41, Folder 2

Mommers, Hendrik

Box 41, Folder 3-4

Momper

Scope and Content Note

Includes a loan form from the unrealized exhibition
Paesaggio e veduta a Roma dal Seicento all'Ottocento, and a 1968 letter from Andrea Busiri Vici. See also Momper, Joos de, the younger.

Box 41, Folder 5

Momper, Joos de, the younger

Scope and Content Note

See also Momper.

Box 41, Folder 6

Monaldi

Box 41, Folder 7

Mondo, Domenico

Scope and Content Note

Contains only a single article on the artist.

Box 41, Folder 8

Monrealese (Novelli, Pietro)

Box 41, Folder 9

Montanini, Pietro

Scope and Content Note

Includes 1971 correspondence between Salerno and Galleria Pontremoli, Milan, regarding a painting attributed to Montanini.

Box 41, Folder 10

Montagna, Marco Tullio

Box 41, Folder 11

Monti, Francesco

Box 41, Folder 12

Morazzone

Box 41, Folder 13

Moretti, Giuseppe

Box 41, Folder 14

Moucheron, Frederik de and Isaac de Moucheron

Box 41, Folder 15

Mulier, Pieter, the younger

Munari, Cristoforo

Scope and Content Note

Includes a letter, dated between 1987 and 1988, addressed to "Dottor Violante" in which Salerno contests the attribution of
a painting well-established as a Munari. Addressee may be Marcello Violante of Chaucer Fine Arts Inc.

Box 41, Folder 16

Black-and-white photographs

Box 59, Folder 28

Color photographs and transparency

Box 41, Folder 17

Musso

Nani, Giacomo

Box 41, Folder 18

Black-and-white photographs

Box 59, Folder 29

Transparencies

Box 41, Folder 19

Natoire, Charles Joseph

Box 41, Folder 20

Navarra, Pietro

Box 41, Folder 21

Neeffs, Peeter, the younger

Box 41, Folder 22

Nieulandt, Willem van, II

Box 41, Folder 23

Nomé, François de

Nuvolone, Panfilo

Box 41, Folder 24

Black-and-white photographs

Box 59, Folder 30

Transparencies

Nuzzi, Mario

Scope and Content Note

Includes three letters (1987-1988) from Jean-Jacques Nalpas of Marseille, regarding a Mario dei Fiori (Mario Nuzzi) painting
in his collection.

Box 41, Folder 25

Black-and-white photographs

Box 59, Folder 31

Transparencies

Box 41, Folder 26

Ocker, Adriaen Jansz

Onofri, Crescenzio

Box 42, Folder 1

Black-and-white photographs

Box 59, Folder 32

Color photographs

Box 42, Folder 2

Orbetto (Turchi, Alessandro)

Box 42, Folder 3

Ossenbeck, Jan van

Pace del Campidoglio, Michele

Box 42, Folder 4

Black-and-white photographs

Box 59, Folder 33

Transparencies

Box 42, Folder 5

Panfi, Romolo

Box 42, Folder 6

Panfili, C.

Panini, Gian Paolo

Scope and Content Note

Includes two 1988 letters from Galerie Robert Finck and one undated, which may have been sent to Christie, Manson & Woods,
circa 1979.

Salerno published an article entitled
L'opere di Antonio Pomarancio, in a 1952 issue of
Commentari.

Porpora, Paolo

Box 43, Folder 9

Black-and-white photographs

Box 59, Folder 39

Transparencies

Box 43, Folder 10-12

Poussin, Nicolas

Scope and Content Note

Also includes some photographs of works attributed to Gaspard Dughet (Gaspard Poussin), a student of Nicolas Poussin.

Box 43, Folder 13

Pozzo, Andrea

Box 43, Folder 14

Pozzoserrato (Toeput, Lodewijk)

Box 43, Folder 15

Preti, Mattia

Box 43, Folder 16

Procaccini, Giulio Cesare

Box 43, Folder 17

Pulzone, Scipione

Box 43, Folder 18

Pynacker, Adam

Box 43, Folder 19

Pynas, Jacob Symonsz. and Jan Symonsz. Pynas

Scope and Content Note

See also Wyck, Thomas.

Box 43, Folder 20

Ramsay

Box 43, Folder 21-22

Raphael

Scope and Content Note

Includes works attributed to Raphael and his workshop. Also includes a 1971 letter from Geraldine Keen of
The Times, London, who wrote an article about a Raphael smuggled into the United States and acquired by the Boston MFA. The painting
was seized by the government and the associated scandal precipitated Perry Rathbone's resignation as museum director in 1972.
The letter to Salerno seems to hint that he considered the work spurious. He was likely involved in the case through his work
at the Ufficio esportazione. Salerno also published an article entitled
Il Profeta Isaia di Raffaello e il Putto della Accademia di S. Luca, on the restoration work in the Chiesa di Sant'Agostino undertaken by the Soprintendenza. It appeared in a 1960 issue of
Bollettino d'arte.

Realfonso, Tommaso

Box 43, Folder 23

Black-and-white photographs

Box 59, Folder 40

Transparencies

Recco, Elena

Box 43, Folder 24

Black-and-white photographs

Box 59, Folder 41

Transparency

Recco, Giacomo

Box 44, Folder 1

Black-and-white photographs

Box 59, Folder 42

Transparencies

Recco, Giovanni Battista

Box 44, Folder 2-3

Black-and-white photographs

Box 59, Folder 43

Transparencies

Recco, Giuseppe

Box 44, Folder 4

Black-and-white photographs

Box 59, Folder 44

Color photograph and transparencies

Box 44, Folder 5

Recco, Nicola

Box 44, Folder 6

Reder, Christian and Giovanni Reder

Box 44, Folder 7

Regnier, Nicolas

Box 44, Folder 8

Rembrandt Harmenszoon van Rijn

Box 44, Folder 9

Remps, Domenico

Reni, Guido

Scope and Content Note

Includes a 1979 letter addressed to José Manuel and a report on the technical examination of works related to Reni's
Judith and Holofernes. The report, entitled
Un chef-d'œuvre perdu et retrouvé: la Judith et Holopherne de Guido Reni, is accompanied by a 1983 cover letter from the Instituto tecnico de expertizacion y restauracion, Madrid. The report discusses
the provenance of the Spanish work and several preparatory studies and other versions of the painting in Italy, France and
England. Reni's painting of
Lucretia is also mentioned in this study.

Box 44, Folder 10-13

Black-and-white photographs

Box 60, Folder 1

Color photographs and transparencies

Reschi, Pandolfo

Box 44, Folder 14

Black-and-white photographs

Box 60, Folder 2

Color photographs and transparencies

Box 44, Folder 15-16

Ribera, Jusepe de

Box 44, Folder 17-18

Ricci, Marco

Box 44, Folder 19

Ricciardelli, Gabriele

Box 44, Folder 20

Riminaldi, Orazio

Box 45, Folder 1

Robert, Hubert

Scope and Content Note

Includes a photocopy of a 1991 letter from the Sammlungen des Fürsten von Liechtenstein museum to Patrizio Busiri Vici of
Ugo Bozzi Editore.

Box 45, Folder 2

Roberti, Domenico

Box 45, Folder 3

Roberti, Roberto

Box 45, Folder 4

Rocca, Michele

Box 45, Folder 5

Roghman, Roelant

Box 45, Folder 6

Rombouts, Theodoor

Box 45, Folder 7

Romeyn/Ruthart

Scope and Content Note

Romeyn, Willem and Carl Borromäus Andreas Ruthart.

Box 45, Folder 8

Roncalli

Roos family

Scope and Content Note

Roos, Johan Heinrich, Johann Melchior Roos and Philipp Peter Roos. The vast majority of the works are attributed to Johan
Heinrich Roos and Philipp Peter Roos, called Rosa da Tivoli. Includes a brief, undated note from Marcella Ambrosi Bacchi of
Rome.

Includes a 1989 letter from Leonardo Piccagliani of Modena regarding attribution of a painting and an offprint of Salerno's
1952 article
Di Tommaso Salini, un ignoto caravaggesco. Also includes an entire 1969 issue of
Bollettino dei musei comunali di Roma.

Box 45, Folder 20-21

Black-and-white photographs

Box 60, Folder 5

Transparencies

Box 45, Folder 22-23

Salucci, Alessandro

Box 45, Folder 24

Salviati, Francesco

Box 45, Folder 25

Sandrart, Joachim von

Box 45, Folder 26-28

Saraceni, Carlo

Scope and Content Note

Includes a reproduction of an engraving by Flemish engraver and print publisher, Nicolaus van Aelst.

Box 46, Folder 1

Sarto, Andrea del

Scope and Content Note

Contains a single postcard.

Box 46, Folder 2

Sartori, Benedetto

Box 46, Folder 3

Sassoferrato

Box 46, Folder 4

Scacciati, Andrea, I

Scope and Content Note

See also Fuolerni, Orazio [?] and four others.

Box 46, Folder 5

Scaramuccia, Luigi Pellegrino

Box 46, Folder 6

Scarsellino

Box 46, Folder 7

Schedoni, Bartolomeo

Box 46, Folder 8

Schellinks, Daniel and Willem Schellinks

Scope and Content Note

See also Saftleven and six others.

Box 46, Folder 9

Scorza, Sinibaldo

Box 46, Folder 10

Seghers, Daniel

Box 46, Folder 11

Serodine, Giovanni

Box 46, Folder 12

Silvestre, Israël

Box 46, Folder 13

Sirani, Elisabetta

Box 46, Folder 14

Sirani, Giovanni Andrea

Box 46, Folder 15

Smith, John

Snyders, Frans

Scope and Content Note

Includes an undated letter from Ronald Cohen of Trafalgar Galleries and one addressed to Cohen from the Victoria and Albert
Museum, London, dated 1989. See also Battaglioli, Francesco.

Box 46, Folder 16

Black-and-white photographs

Box 60, Folder 6

Color photograph

Box 46, Folder 17

Sole, Giovan Gioseffo dal

Box 46, Folder 18

Solimena, Francesco

Box 46, Folder 19

Spada, Leonello

Box 46, Folder 20-21

Spadarino (Galli, Giovanni Antonio)

Scope and Content Note

Includes a 1969 letter from Patrick Matthiesen, regarding different versions of the painting
Santa Francesca Romana e l'Angelo, and a 1963 letter from Benedict Nicolson.

Spadino, Bartolomeo (junior)

Box 46, Folder 22

Black-and-white photographs

Box 60, Folder 7

Transparencies

Box 46, Folder 23

Spadino, Bartolomeo (senior)

Spadino, Giovanni Paolo

Scope and Content Note

Includes a 1987 letter from Giorgio Devoto of Genova regarding the attribution of a still life painting.

Box 46, Folder 24-25

Black-and-white photographs

Box 60, Folder 8

Color photographs and transparency

Box 46, Folder 26

Spierincks, Karel Philips

Scope and Content Note

Includes a 1988 letter, addressee wanting, in which Salerno resolutely attributes a painting to Spierincks.

Box 46, Folder 27

Stanzione, Massimo

Box 46, Folder 28

Stella, Jacques

Scope and Content Note

Contains only a single auction catalog clipping.

Box 46, Folder 29

Stern, Ludovico, I

Box 46, Folder 30

Stom, Antonio and Matteo Stom

Scope and Content Note

Includes a 1991 letter from Marcello Violante of Chaucer Fine Arts Inc.

Box 46, Folder 31

Stom, Mattais (Stomer)

Box 46, Folder 32

Storck, Abraham

Scope and Content Note

Contains only a few auction catalog pages. See also Saftleven and six others.

Strozzi, Bernardo

Box 47, Folder 1-2

Black-and-white photographs

Box 60, Folder 9

Color photographs and transparencies

Box 47, Folder 3

Subleyras, Pierre

Swanevelt, Herman van

Scope and Content Note

Includes a number of 1972 photograph requests submitted by Didier Bodart to the Bibliothèque royale Albert Ier of Brussels,
as well as their accompanying images.

Box 47, Folder 4-7

Black-and-white photographs

Box 60, Folder 10

Transparency

Box 47, Folder 8

Sweerts, Michael

Tamm, Franz Werner

Scope and Content Note

Includes a 1987 letter from the London firm Richard Green, regarding attribution.

Box 47, Folder 9

Black-and-white photographs

Box 60, Folder 11

Transparency

Tassi, Agostino

Scope and Content Note

Includes two brief notes from Andrea Busiri Vici, dated April 1981; a 1974 letter regarding attribution from the Ulster Museum,
Belfast; one undated letter, addressee wanting, regarding attribution; and numerous handwritten notes regarding Tassi's works.
Salerno published a 1960 article
Cavaliere d'Arpino, Tassi, Gentileschi and their assistants: a study of some frescoes in the Villa Lante Bagnaia, and
Il vero Filippo Napoletano e il vero Tassi, in 1970. Also includes undated, typescript comments on the Mancini manuscript.

Includes a 1991 letter from Alex Wengraf Limited, London and a 1990 letter from Simon Dickinson of Christie, Manson & Woods
International Inc., London.

Box 49, Folder 9-10

Black-and-white photographs

Box 60, Folder 19

Transparencies

Box 49, Folder 11

Weenix, Jan Baptist

Box 49, Folder 12

Wildens, Jan

Box 49, Folder 13

Withoos

Wittel, Gaspar van (Vanvitelli)

Scope and Content Note

Includes a copy of a 1988 letter written by Giuliano Briganti, addressee wanting, regarding attribution.

Box 49, Folder 14-18

Black-and-white photographs

Box 60, Folder 20

Transparencies

Box 49, Folder 19

Wolfaerts, Jan Baptist

Box 49, Folder 20

Wouwerman, Philips

Scope and Content Note

Also includes a photograph of a work attributed to Pieter Wouwerman.

Box 49, Folder 21

Wtewael, Joachim Anthonisz

Box 49, Folder 22

Wyck, Thomas

Scope and Content Note

Also includes Salerno's notes on Jacob Symonsz. Pynas and Jan Symonsz. Pynas.

Box 49, Folder 23

Zais, Giuseppe

Box 49, Folder 24-28

Zocchi, Giuseppe

Box 49, Folder 29

Zuccarelli, Francesco

Box 49, Folder 30

Zuccati, Adeodato

Box 50, Folder 1

Zucchi

Scope and Content Note

Contains an inventory of works labeled "Cat. Gen. di Tutte le Opere." This document was filed in Salerno's Zucchi folder,
however, it appears to relate to a number of artists.

Zucchi, Antonio

Box 50, Folder 2

Black-and-white photographs

Box 60, Folder 21

Color photograph

Zucchi, Francesco

Box 50, Folder 3

Black-and-white photographs

Box 60, Folder 22

Color photographs

Box 50, Folder 4

Miscellaneous artists

Scope and Content Note

Folder contains photographs found loose among the files, frequently with no clear attribution established by Salerno.

Series IV.B.
Topics,undated

Scope and Content Note

Although most of Salerno's photograph archive consists of artist files, in some cases he grouped related photographs by topic.
These topical groupings are organized by school, geographic locale, site, subject, type of work or time period.

Arrangement

Arranged alphabetically by topical grouping assigned by the creator. Topical files were originally integrated alphabetically
among the artist files, however, they have been moved to the end of the series to facilitate research.

Box 50, Folder 5

Antichi

Scope and Content Note

The file labeled "Antichi sec. XIV-XV-XVI" by Salerno, consists primarily of images of townscapes and early view paintings,
several of which were published in the introductory chapters of
I pittori di vedute in Italia: (1580-1830).

Box 50, Folder 6

Architecture

Scope and Content Note

Contains images of vedute.

Box 50, Folder 7

Bagnaia, Villa Lante

Scope and Content Note

Salerno published an article on the frescoes of Villa Lante,
Cavaliere d'Arpino, Tassi, Gentileschi and their assistants: a study of some frescoes in the Villa Lante Bagnaia, in a 1960 issue of
The Connoisseur, and a short volume on the villa in 1969 with Angelo Cantoni, entitled
Villa Lante di Bagnaia.

Box 50, Folder 8-9

Bolognese

Scope and Content Note

Includes a 1991 letter from the Musei civici d'arte antica, Bologna and a brief 1964 note from the Istituto per la collaborazione
culturale,
Enciclopedia universale dell'arte.

Includes an incomplete, first edition of the exhibition catalog
I Fiamminghi e l'Italia; pittori italiani e fiamminghi dal XV al XVIII secolo, which has been heavily annotated.

Box 50-51

Black-and-white photographs

Box 60, Folder 24

Transparency

French

Scope and Content Note

Includes two 1979 letters between Salerno and Jean Jacques Vannier of Paris.

Box 51, Folder 4-10

Black-and-white photographs

Box 60, Folder 25

Color photograph

Box 51, Folder 11

Genoese

Box 51, Folder 12-13

Lombards

Box 51, Folder 14

Magic

Scope and Content Note

Includes a 1974 letter from Giuseppe Bernardi of Torino regarding a painting in his possession.

Box 52, Folder 1-4

Medieval

Naples

Scope and Content Note

Includes a 1979 letter from Giuseppe de Vito Piscicelli of Rome and a number of letters dated 1983, including: one from Francesco
Giovanetti of Naples and its corresponding response from Salerno; one from Giuseppe dalla Vecchia of Naples; one addressed
to Raffaello Causa from Federico Zeri; one from Causa to Salerno; and an offprint of Salerno's article
Il dissenso nella pittura: Intorno a Filippo Napoletano, Caroselli, Salvator Rosa e altri.

Box 52, Folder 5-11

Black-and-white photographs

Box 60, Folder 26

Transparencies

Box 52, Folder 12

Neapolitan

Neoclassical

Scope and Content Note

Includes 1971-1972 correspondence which relates to the 1972, Council of Europe exhibition
The Age of Neoclassicism, from Anna Forlani Tempesti, The Arts Council of Great Britain, the Museo Glauco Lombardi of Parma, a copy of a letter from
Augusta Ghidiglia Quintavalle to the Arts Council with its corresponding response and a brief note from Clelia Alberici to
Salerno.